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Dźwięk w krajobrazie jako przedmiot badań i środek wyrazu w sztuce ogrodowej i architekturze krajobrazu

100%

Pawłowska K.

Prace Kulturoznawcze

2012

vol. 13

31-56

The space in which we live is something we get to know simultaneously through several senses: sight, hearing, smell and touch. The involvement of various senses in the perception of places differs both when it comes to intensity and significance. Without questioning the thesis that the sight is the dominant sense in the perception of space, it must be said that omitting the other senses from the art of its organisation is not justified. The quality of the space in which we live, work, rest, and are in contact with nature and other people is a very important element of the quality of our lives. This quality must obviously be taken care of in a systematic manner. The tasks associated with this are divided among professionals from various disciplines. A lack of integration in their actions frequently decreases the quality of the space, not only through excess but also through a lack of cohesion of the effects addressed to the various senses. Sticking to a division between those who shape the image and those who create the sound hinders the use of the potential of the relation between the two spheres. Negative consequences of dissonance are clear especially in places when the intensity of both the image and the sound is especially high. The article is devoted to the components of the quality of the space that are perceived by hearing — to their nature, their investigation and use in order to create arrangements responding to people’s needs.

The Greenhouse Of The Palace Okocim Near Brzesko

100%

Schwahn M.

Modus. Prace z historii sztuki

2009

vol. 8-9

193-197

The neobaroque palace of Okocim, placed in the distance of 60 km from Kraków, was extended about 1909 by a east wing according to the plans made by the viennese architect Leopold Simony (1859-1929). Other viennese architect, Carl Gustav Swensson (1861-1910) added to it a greenhouse-orangerie, original projects for which were found in autumn 2004 in Vienna. The fundator of that rebuilding was Johann Albin Freiherr Götz von Okocim (1864-1931). In the years 1898-1900 the family Götz from Okocim ordered in the viennese Atellier of Fellner & Helmer a splendid neobaroque palace. Carl Gustav Swensson, the creator of the greenhouse in Okocim was born on 15. 06. 1861 in Jönköping in the swedish province Smaland as the son of gardener Anders Gustaf Swensson (1833-1911) and Ulrika Jonasdotter (1835-1904). As an architect he was active in Würzburg (Kingdom of Bayern) and from 1887 in Vienna. In the city district of Währing he was responsible for the arrangement of one part of Türkenschanzpark, which was opened on 30. 09. 1888. Swensson was regarded as the first garden architect of Vienna. He was working in the viennese villa-areas of Döbling, Währing und Dornbach (villas of Josef Robert Hardy, Carl Angerer, J. Weinberger, Bernhard Popper and Josef Eisler von Terramare). Carl Gustav Swensson made two alternative projects for the greenhouse of the Okocim palace. The executed version is preserved in quite good condition - artificial cave architecture, side stairs, a pond with a fountain and even Art-Nouveau wall well on the outside of the greenhouse. The greenhouse ensemble in the palace of Okocim is an important example of european garden architecture of the beginnings of 20th century and because oft hat should be renovated and brought to the previous condition.

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1 Modus. Prace z historii sztuki

1 Prace Kulturoznawcze

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1 2009

1 Pawłowska K.

1 Schwahn M.

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Dźwięk w krajobrazie jako przedmiot badań i środek wyrazu w sztuce ogrodowej i architekturze krajobrazu

The Greenhouse Of The Palace Okocim Near Brzesko